Howard Norman – författare

National Book Award Finalist Howard Norman delivers another provocative, haunting novel, this time set in a Vermont village and featuring a missing child, a newly married private detective, and a highly relatable ghost.

Simon Inescort is no longer bodily present in his marriage. It’s been several months since he keeled over the rail of a Nova Scotia–bound ferry, a massive heart attack to blame. Simon’s widow, Lorca Pell, has sold their farmhouse to newlyweds Zachary and Muriel—after revealing that the deed contains a “ghost clause,” an actual legal clause, not unheard of in Vermont, allowing for reimbursement if a recently purchased home turns out to be haunted.

In fact, Simon finds himself still at home: “Every waking moment, I’m astonished I have any consciousness … What am I to call myself now, a revenant?” He spends time replaying his marriage in his own mind, as if in poignant reel-to-reel, while also engaging in occasionally intimate observation of the new homeowners. But soon the crisis of a missing child, a local eleven-year-old, threatens the tenuous domestic equilibrium, as the weight of the case falls to Zachary, a rookie private detective with the Green Mountain Agency.

The Ghost Clause is a heartrending, affirming portrait of two marriages—one in its afterlife, one new and erotically charged—and of the Vermont village life that sustains and remakes them.

Jacob Rigolet—a soon-to-be former assistant to a wealthy art collector—looks up from his seat at an auction to see his mother, the former head librarian at the Halifax Free Library, walking almost casually up the aisle. Before a stunned audience, she flings an open jar of black ink at master photographer Robert Capa’s Death on a Leipzig Balcony. What’s more, Jacob’s police detective fiancée, Martha Crauchet, is assigned to the ensuing interrogation.

In My Darling Detective, Howard Norman delivers a fond nod to classic noir, as Jacob’s understanding of the man he has always assumed to be his father unravels against the darker truth of Robert Emil, a Halifax police officer suspected but never convicted of murdering two Jewish residents during the shocking upswing of anti-Semitism in 1945.

The denouement, involving a dire shootout and an emergency delivery—the second Rigolet to be born in the Halifax Free Library—is Norman at his provocative, uncannily moving best.

Howard Norman, widely regarded as one of this country’s finest novelists, returns to the mesmerizing fictional terrain of his major books—The Bird Artist, The Museum Guard, and The Haunting of L—in this erotically charged and morally complex story.

Seventeen-year-old Wyatt Hillyer is suddenly orphaned when his parents, within hours of each other, jump off two different bridges—the result of their separate involvements with the same compelling neighbor, a Halifax switchboard operator and aspiring actress. The suicides cause Wyatt to move to small-town Middle Economy to live with his uncle, aunt, and ravishing cousin Tilda.

Setting in motion the novel’s chain of life-altering passions, and the wartime perfidy at its core, is the arrival of German student Hans Mohring, carrying only a satchel. Actual historical incidents—including a German U-boat’s sinking of the Nova Scotia–Newfoundland ferry Caribou, on which Aunt Constance Hillyer might or might not be traveling—lend intense narrative power to Norman’s uncannily layered story.

Wyatt’s account of the astonishing events leading up to his fathering of a beloved daughter spills out twenty-one years later. It’s a confession that speaks profoundly of the mysteries of human character in wartime and is directed, with both despair and hope, to an audience of one. An utterly stirring novel, this is Howard Norman at his celebrated best.

A memoir of the haunting and redemptive events of the acclaimed writer''s life—the betrayal of a con-man father; a murder-suicide in his family''s house; the presence of an oystercatcher—each one, as the saying goes, stranger than fiction

As with many of us, the life of novelist Howard Norman has had its share of incidents of "arresting strangeness." Yet few of us connect these moments, as Norman has done in this spellbinding memoir, to show how life tangles with the psyche to become art. Norman''s story begins with a portrait, both harrowing and hilarious, of a Midwest boyhood summer working in a bookmobile, in the shadow of a grifter father and under the erotic tutelage of his brother''s girlfriend. His life story continues in places as far-flung as the Arctic, where he spends part of a decade as a translator of Inuit tales—including the story of a soapstone carver turned into a goose whose migration-time lament is, "I hate to leave this beautiful place"—and in his beloved Point Reyes, California, as a student of birds. In the Arctic, he receives news over the radio that "John Lennon was murdered tonight in the city of New York in the USA." And years later, in Washington, DC, another act of deeply felt violence occurs in the form of a murder-suicide when Norman and his wife loan their home to a poet and her young son. Norman''s story is also stitched together with moments of uncanny solace. Of life in his Vermont farmhouse Norman writes, "Everything I love most happens most every day."

In the hands of Howard Norman, author of The Bird Artist and What Is Left the Daughter, life''s arresting strangeness is made into a profound, creative, and redemptive memoir.

"After my wife, Elizabeth Church, was murdered by the bellman Alfonse Padgett in the Essex Hotel, she did not leave me."

Sam Lattimore meets Elizabeth Church in 1970s Halifax, in an art gallery. The sparks are immediate, leading quickly to a marriage that is dear, erotically charged, and brief. In Howard Norman''s spellbinding and moving novel, the gleam of the marriage and the circumstances of Elizabeth''s murder are revealed in heart-stopping increments. Sam''s life afterward is complicated. For one thing, in a moment of desperate confusion, he sells his life story to a Norwegian filmmaker named Istvakson, known for the stylized violence of his films, whose artistic drive sets in motion an increasingly intense cat-and-mouse game between the two men. For another, Sam has begun "seeing" Elizabeth—not only seeing but holding conversations with her, almost every evening, and watching her line up books on a small beach. What at first seems simply a hallucination born of terrible grief reveals itself, evening by evening, as something else entirely.

Next Life Might Be Kinder is a story of murder, desperate faith, the afterlife, and love as absolute redemption—from one of our most compelling storytellers at the height of his talents.